Italian school; last third of the 17th century.

Italian school; last third of the seventeenth century.
"Dolorosa".
Oil on copper.
It has an important Italian frame of the seventeenth century in gilded bronze, silver and gems. It is presented in iron support of the twentieth century.
Measurements: 22,5 x 16,5 cm; 46 x 28,5 cm (frame).
The quality of this work allows us to relate it to the Italian school, characterized by a great technical mastery, which manages to harmoniously balance the correctness of the drawing and the quality of the colors. The artist represents Mary in her invocation as Dolorosa, alone before a neutral background, directing her gaze upwards, imploring justice. Formally, the contemporary manner in the treatment of the Virgin stands out: young, beautiful and with subtle features that are captured through light and nuanced brushstrokes. In the center of her heart, as is usual in this invocation, the dagger, which in this case stands out for its lightness, is nailed although the Virgin does not show signs of pain but of resignation. It is necessary to mention the frame of this work that stands out for its intricate work with silver and gemstone appliqués on a carved and gilded background.
The devotion to the sorrows of the Virgin has its roots in medieval times, and was especially spread by the Servite order, founded in 1233. There are many and varied iconographic representations that have as central theme the Virgin Mary in her Sorrowful aspect, being the first of them in which she appears next to the Child Jesus, who sleeps oblivious to the future of suffering that awaits him. In these works is usually present the cross, the main symbol of the Passion, embraced even by the Child, while Mary observes him with a pathetic expression. Another aspect is the one that is part of the Pietà, similar to the previous one, although her Son is here dead, not asleep, depicted as an adult and after his crucifixion. In the oldest representations of this theme, the body of Christ appears disproportionately small, as a symbol of the memory that the mother has of her Son's childhood, when she contemplated him asleep on her lap. Finally, the Virgin of Sorrows and Solitude also stands out in importance, where Mary appears alone, sometimes with her heart pierced by one or several swords. Being this representation very close to popular sentiment, after the iconography of the Virgin of Sorrows, the iconography of Solitude is created: Mary, completely alone, is harassed by the memory of the main moments of her life, afflicted in solitude, without her Son.